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Surrealism endeavours to tease hidden fears and hopes out of the depths of the psyche. At one moment it uses abstract but nonetheless symbolic and richly allusive forms as in the case of Mirò and Max Ernst, at another supra-real elements in unreal relationships as in the works of Magritte: in the Kunsthaus outstanding examples from both ends of the spectrum can be found. In Salvador Dali’s dream world astonishing transformations occur: around the waist and arm of a fashionable woman male hands are wrapped, and suddenly, her head blossoms into a bunch of roses, one leg is stiffened into that of a mannequin, the other flows into the drapery of her dress, whilst the furniture has become animate. The lonely petrified figure in the empty receding space and the cypress grove on the lion’s head recall the romanticism of Böcklin and de Chirico.